Amidst the vibrant and animated avenues of São Paulo , Brazil , often referred to as the graffiti capital of the world , a remarkable evolution of mural art has unfolded across the canvases of its streets . For decades , there was an underground movement among artists inspired by New York punk and hip-hop culture around the world . They dared to illustrate brick buildings and dim alleyways to express themselves . With mural art now embraced as an acclaimed political and social medium in Brazil , artists such as Apolo Torres , Hanna Lucatelli Santos , Eduardo Kobra , and others , have transformed the urban expanse into one full of color and audacity , painting its walls with vivid strokes of images and words that symbolize activism and change .
Although envisioning the present-day city without its remarkable and contemporary art might prove challenging , there was once a time when São Paulo had a vastly different appearance and social outlook on public art . Instead of embracing the captivating embellishment of the mural work that looms across numerous city buildings today , graffiti and mural art was once illegal . During the 1980s , city dwellers with access to spray paint and ink took to altering walls , bridges , and alleyways as a form of expression , running the risk of being issued a ticket or even facing arrest . They often had distinct ideas of how society should look and were determined to create compelling depictions of the country ’ s political state , the right to education , or the human experience in its entirety . Their work proved incredibly potent for decades in São Paulo , as artists articulated their messages despite the illicit and prohibited context of its earlier era .
Apolo Torres
For decades , words , messages , and drawings remained in discrete and desolate locations until a sweeping transformation took place in 2006 when a law that is commonly referred to as ‘ clean city ,’ was introduced . Advertisements that had cluttered public spaces were removed to eliminate the excessive presence of commercial signs , altering São Paulo ’ s vistas entirely . The new policy posed a change to the perception of what deserved prominence . In the absence of billboards and walls pasted with advertisements as before , public art , and murals in particular , became crucial in filling the void left behind . Artists across the cityscape , who were confronted with larger canvases than ever before , seized the opportunity to create work for everyone to behold .
In today ’ s era , mural art , which Apolo Torres says “ has always been a part of human culture ,” is thriving like never before . The city even allocated nearly $ 1.6 million in recent years to support projects intended to beautify its streets . With São Paulo ’ s endorsement of mural art , there is now a heightened recognition of artists . And an increased presence of women artists who are strengthening artistic expression and narratives of representation that are reflective of Latin America ’ s largest country .
Hanna Lucatelli Santosis one of the most prominent female muralists in São Paulo with her grand murals of serene and powerful images of women and the mother figure . Santosis says she seeks to “ humanize the city ” and help lead “ urgent transformations ” capable of healing society .
Whether you find yourself enjoying a leisurely visit , commuting , or simply passing through , be sure to look up and gaze at the vibrant tapestry of street art across São Paulo , and take in their lessons .
GETTING THERE :
United Airlines flies direct between Dulles International and São Paulo- Guarulhos International Airport .
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